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The Singles Collection, Volume 3 is a limited edition CD series compilation box set by the English rock band Queen, the third of four sets. The box set contains remastered versions of the next thirteen top-40 charting singles released by Queen that appear subsequent to those in Queen: The Singles Collection Volume 2. The set marks the first time that Blurred Vision and the single mix of Pain Is So Close To Pleasure have been made available on CD.
Kim Wilde's number one cover of the Supremes' "You Keep Me Hangin' On" gave her a number one hit back in 1987, but she gained chart life five years earlier with the glitzy bounce of "Kids in America," allied with the new decade's keyboard-laden pop sound and peaking at number 25 on Billboard's Top 40. The Singles Collection 1981-1993 is easily the most opportune avenue available to investigate the rest of Wilde's material. While video may have been her best friend throughout her career, sporting her attractive looks and modest Brit attitude, Wilde's music does contain some pleasing dance hooks and catchy melodies. "Another Step (Closer to You)" and "Love Is Holy" are bright and lively with typical yet congenial pop melodies, while "You Came" mixes a clean, keyboard-aided backdrop to Wilde's sheer vocal style. "Chequered Love" and "Water on Glass" aren't genius, but their arrant pop melodies and simplistic beats are anything but standstill.
CD replicas of original singles and EPs from the '50s and '60s have been a hot item in collectors' circles since the latter half of the '90s, yet they remain a rather bewildering item to a wider audience. After all, for listeners who don't fetishize original packaging – the photo sleeves, the shifting logos on the label – it's hard to grasp the purpose of a set that contains 40 songs spread out over 20 discs, as they are on Elvis #1 Singles, a set that rounds up 20 of the King's chart-topping hits and serves them up as two-track CDs, complete with original B-sides and artwork.
Once Upon a Time: The Singles collects all ten of Siouxsie and the Banshees' A-sides spanning the years 1978-1981, with four songs otherwise unavailable on LP. It's a neat and accessible encapsulation of the group's early guitar-driven sound – a frosty, dissonant art punk that had a tremendous impact on the emerging goth rock scene. Unlike similarly forbidding work by such proto-goth contemporaries as Joy Division or the Cure, the early Banshees were tense and visceral; the darkness of the Once Upon a Time singles doesn't come from a sense of downcast gloom so much as it does from a jittery angst. Yet as challenging as the music is, it's also accessible enough for eight of these singles to have charted in the British Top 50. The melodies are angular and almost alien, yes, but oddly memorable once the listener has assimilated them. Starting shortly after the period covered by this collection, Siouxsie Sioux's icy detachment would be fused with an elegant romanticism and lusher, smoother arrangements. Which means that Once Upon a Time isn't the one, definitive Banshees compilation, but it is a cohesive and essential overview of the band's edgy, influential peak.